0:00:45 > 0:00:48The Antiques Roadshow has come back to the banks of the River Clyde near
0:00:48 > 0:00:53Lanark in Scotland to this picturesque World Heritage site.
0:00:53 > 0:00:56The village of New Lanark was built in 1785 during the industrial
0:00:56 > 0:00:58revolution, and at the time,
0:00:58 > 0:01:01was the biggest cotton manufacturer in the country.
0:01:03 > 0:01:06In the late 18th century, factory workers tended to live close to
0:01:06 > 0:01:08their place of work. This meant
0:01:08 > 0:01:10housing had to be provided close to the mill.
0:01:12 > 0:01:15The exterior of the buildings were constructed using
0:01:15 > 0:01:18locally-quarried sandstone, using a style known as random rubble, which
0:01:18 > 0:01:21used the natural shapes of the stone.
0:01:24 > 0:01:28This room has been reconstructed as it would have looked in the 1800s
0:01:28 > 0:01:30and all the family would have lived
0:01:30 > 0:01:32in this one room with its one window,
0:01:32 > 0:01:34and the cooking happened over here,
0:01:34 > 0:01:36and everyone slept on this side.
0:01:36 > 0:01:38And look at this bed with its wheels.
0:01:38 > 0:01:41It's called a hurley bed, and it would have been pulled out at night
0:01:41 > 0:01:44and then pushed back under during the day to make space.
0:01:45 > 0:01:50In the 1861 census, Mr and Mrs Gallagher recorded four children,
0:01:50 > 0:01:52a sister-in-law and two lodgers
0:01:52 > 0:01:55all living together in this small space.
0:01:55 > 0:01:56Wow!
0:01:56 > 0:02:00At its height, there would have been around 2,500 people working
0:02:00 > 0:02:02and living in this village.
0:02:02 > 0:02:06High-density, tall tenements were the housing solution.
0:02:06 > 0:02:09The names of these buildings tell you all you need to know about them.
0:02:09 > 0:02:10So this is Long Row.
0:02:10 > 0:02:12Over there, that's Wee Row.
0:02:12 > 0:02:15And then just beyond it is Double Row
0:02:15 > 0:02:18because the houses are twice as wide.
0:02:18 > 0:02:21Double Row, as you can see, is covered in scaffolding as
0:02:21 > 0:02:24New Lanark Trust continues with its mission to restore and regenerate
0:02:24 > 0:02:25these historic buildings.
0:02:25 > 0:02:28So, I'm putting on this hard hat because I've been given special
0:02:28 > 0:02:30permission to take a closer look.
0:02:33 > 0:02:38This house was occupied by the same family from 1901 until the 1970s.
0:02:38 > 0:02:42It was a lucky find because many of the original features remain intact,
0:02:42 > 0:02:43like the bed spaces here.
0:02:43 > 0:02:45And then the wallpaper.
0:02:45 > 0:02:50The different layers go back through the years, all the way back to 1900.
0:02:52 > 0:02:55This is the original sink that one of the members of that family,
0:02:55 > 0:02:59now in his 80s, remembers being washed in as a child.
0:02:59 > 0:03:00And I can imagine quite a few
0:03:00 > 0:03:03children were washed in this sink over the years.
0:03:04 > 0:03:07Today we're welcoming the people of South Lanarkshire and beyond to come
0:03:07 > 0:03:09help us peel back the layers of
0:03:09 > 0:03:12a few more stories on this week's Antiques Roadshow.
0:03:16 > 0:03:20Do you know, this is one of the finest claret jugs I've ever seen.
0:03:22 > 0:03:24Absolutely gorgeous.
0:03:24 > 0:03:28But, what have you stuck that in there for?
0:03:28 > 0:03:30Yes, honestly, we don't know how long
0:03:30 > 0:03:32that has been there with the jug.
0:03:32 > 0:03:36The jug originally belonged to a family member on my gran's side.
0:03:36 > 0:03:41He was given it as a retirement gift when he left Seamill Hydro.
0:03:41 > 0:03:46When he died, he left it to my gran, and my gran's now in her mid-90s.
0:03:46 > 0:03:49And, a few years, ago she gave it to my dad. A lovely gift.
0:03:49 > 0:03:52Gosh, I wish I could be given a jug like this!
0:03:52 > 0:03:54But it is superb.
0:03:54 > 0:03:58With so many claret jugs, you find the glass is doing something
0:03:58 > 0:04:01entirely different to the rest of it.
0:04:01 > 0:04:03Look at what's going on here.
0:04:03 > 0:04:08We've got the face engraved at that point and then again we see it at
0:04:08 > 0:04:11the head of each strap. Everything is tying up.
0:04:11 > 0:04:14These scrolls pick up the scrolls there.
0:04:14 > 0:04:17It's a unified design.
0:04:17 > 0:04:20And it just oozes quality.
0:04:20 > 0:04:23When you look at the top here, the sculptural group,
0:04:23 > 0:04:27the female there and little bacchanal with the bunch of grapes,
0:04:27 > 0:04:29it's stunning. Actually,
0:04:29 > 0:04:32it's going to be even more stunning when you've cleaned it! Yes!
0:04:32 > 0:04:33THEY LAUGH
0:04:33 > 0:04:37Of course, this surface here is silver-gilt.
0:04:37 > 0:04:40So, the whole piece, apart from the glass, obviously,
0:04:40 > 0:04:43is made out of silver and then, in this case,
0:04:43 > 0:04:45it would have been electrogilded.
0:04:45 > 0:04:48So it's silver covered with gold.
0:04:48 > 0:04:51Now, we've got...
0:04:52 > 0:04:55..a nice set of marks here.
0:04:55 > 0:04:56Which are actually quite intriguing.
0:04:56 > 0:04:59I mean, they're London, we've got the London Leopard's head there.
0:04:59 > 0:05:02And they're for 1891.
0:05:02 > 0:05:07OK. So we're right towards the end of the reign of Queen Victoria.
0:05:07 > 0:05:11But what I find fascinating is, the maker's mark is WK...
0:05:11 > 0:05:14OK. ..which is for Keith Co.
0:05:14 > 0:05:20OK. Now, Keith were absolutely fantastic makers of Church silver.
0:05:20 > 0:05:24And this is certainly not a Church piece with all the bacchanals
0:05:24 > 0:05:27and so on. Wouldn't be quite appropriate!
0:05:27 > 0:05:29So when did you last use it?
0:05:29 > 0:05:31I don't think it's ever actually been used.
0:05:31 > 0:05:34As far as I know, the relative on my gran's side,
0:05:34 > 0:05:37he kept it in a pawn shop for safekeeping.
0:05:37 > 0:05:39A pawn shop? Yes, because it was a retirement gift,
0:05:39 > 0:05:41he didn't want to use it,
0:05:41 > 0:05:44he wanted to keep it as long as possible in its good condition.
0:05:44 > 0:05:46But when it went to my gran,
0:05:46 > 0:05:49it then went to a shelf and it stayed on that shelf until
0:05:49 > 0:05:52she moved house and now it sits on a shelf in my parents' house.
0:05:52 > 0:05:56So it's probably never been touched or ever been used.
0:05:56 > 0:05:58So what about the value of it?
0:05:58 > 0:06:01I think, auction estimate,
0:06:01 > 0:06:03I think, would be
0:06:03 > 0:06:06?2,500 to ?3,000.
0:06:06 > 0:06:08Wow!
0:06:08 > 0:06:11Wasn't expecting that, to be honest!
0:06:11 > 0:06:13And I wouldn't be surprised if it went higher.
0:06:13 > 0:06:15OK. It is so good.
0:06:15 > 0:06:18Wow, that's... My dad will be very pleased to hear that.
0:06:18 > 0:06:22He's always said that it was of value and had a lot of history,
0:06:22 > 0:06:25and I always said it had nothing!
0:06:25 > 0:06:28So, unfortunately, he's now right and I'm wrong!
0:06:28 > 0:06:31Right! So you're going to change your view of it?
0:06:31 > 0:06:34I think I'll just go back and tell him it's worth nothing, yeah!
0:06:34 > 0:06:35THEY LAUGH
0:06:39 > 0:06:42A wonderful exotic lady in Lanarkshire.
0:06:42 > 0:06:43Where did she come from?
0:06:43 > 0:06:47She came from a beauty salon in
0:06:47 > 0:06:50Newcastle which was run by my grandmother.
0:06:50 > 0:06:53And how did she end up in Newcastle?
0:06:53 > 0:06:55Now, that's a love story!
0:06:57 > 0:06:59She started off in Somerset...
0:07:01 > 0:07:04..with quite a significant landed family in Somerset.
0:07:04 > 0:07:07And she actually fell in love with a chauffeur,
0:07:07 > 0:07:10much to the displeasure of her parents.
0:07:10 > 0:07:12She ran away with him
0:07:12 > 0:07:16and subsequently became disinherited by the family.
0:07:16 > 0:07:18So, they moved up to Newcastle
0:07:18 > 0:07:23and life grew from there, and how she managed to get
0:07:23 > 0:07:28figures like that and artefacts like that in her beauty salon,
0:07:28 > 0:07:31which she developed in Newcastle, we have no idea.
0:07:31 > 0:07:33This is an exceptional piece.
0:07:33 > 0:07:37It's made by the Lenci factory in Turin.
0:07:38 > 0:07:42And they started off, 1919, making little felt dolls.
0:07:42 > 0:07:44Then 1928, they moved into
0:07:44 > 0:07:47ceramic figures and they were highly desirable.
0:07:47 > 0:07:49This was high Art Deco.
0:07:49 > 0:07:54This particular figure was made around 1932.
0:07:55 > 0:07:58And she's a very exotic character.
0:07:58 > 0:08:04But you imagine how in, you know, 1930, I mean, she's naked...
0:08:04 > 0:08:06Yes. ..which was a bit shocking.
0:08:06 > 0:08:09Except for this elaborate headdress.
0:08:09 > 0:08:16The figure is called Lui Tu, as in Chinese L-U-I, new word, T-U.
0:08:16 > 0:08:18And, the thing I love about this is the details.
0:08:18 > 0:08:20Look at these wonderful Chinese pots.
0:08:20 > 0:08:24She is designed by somebody called Helen Konig Scavini,
0:08:24 > 0:08:26who was THE designer.
0:08:26 > 0:08:28They're very desirable.
0:08:28 > 0:08:31This is a particularly rare one.
0:08:31 > 0:08:33And they embody the Art Deco style.
0:08:34 > 0:08:37Unfortunately, we can see she's badly damaged,
0:08:37 > 0:08:41and with lots of ceramic figurines, that would destroy the value.
0:08:41 > 0:08:45But interestingly, not so with Lenci.
0:08:45 > 0:08:49If this figure came up for sale, with this considerable damage,
0:08:49 > 0:08:53she would still command a figure of ?5,000.
0:08:53 > 0:08:57Good grief!
0:08:57 > 0:08:58Really?
0:09:01 > 0:09:02Wow!
0:09:04 > 0:09:0857.5 pounds of meat.
0:09:08 > 0:09:1033 pounds of carrots.
0:09:10 > 0:09:124 pounds of onions. 14 pounds of flour.
0:09:12 > 0:09:15Now, what kind of a cookbook am I reading?
0:09:15 > 0:09:22Whose is it? It was my father's, who was in the Second World War.
0:09:22 > 0:09:23And this was his log,
0:09:23 > 0:09:28his daily log of his daily chores and cooking and everything else
0:09:28 > 0:09:29that went on in his daily life.
0:09:29 > 0:09:33So he was in the Army Catering Corps, or the equivalent of?
0:09:33 > 0:09:38Yes. And is this a picture of, this is not him in uniform, is it?
0:09:38 > 0:09:39But it's him off duty.
0:09:39 > 0:09:43Yes, it was him off duty, my mother and my father...
0:09:43 > 0:09:45Great. ..many years ago.
0:09:45 > 0:09:48And looking at this book,
0:09:48 > 0:09:50it's written so...
0:09:50 > 0:09:52Precise. ..beautifully, isn't it?
0:09:52 > 0:09:55I mean, the actual hand that it's in.
0:09:55 > 0:09:58Yeah, and it goes all the way through the whole entire book.
0:09:58 > 0:10:03So yes, pages and pages of tightly written
0:10:03 > 0:10:11instructions and advice and drawings and cuts of meat.
0:10:11 > 0:10:13I mean, it just goes...
0:10:13 > 0:10:19It's a wonderful insight into, you know, a cook's life in the war.
0:10:19 > 0:10:24And it's not just the writing that's so lovely,
0:10:24 > 0:10:30there's also beautiful drawings of the sort of really very rudimentary
0:10:30 > 0:10:36ovens and things that he'd be using presumably every day, and out
0:10:36 > 0:10:39on the field if he was ever called into action.
0:10:39 > 0:10:41Yes. The other thing that I love,
0:10:41 > 0:10:45which I just caught looking through here, is his daily log.
0:10:45 > 0:10:47Here we have,
0:10:47 > 0:10:52really by every quarter of an hour almost, his day planned. Yes.
0:10:52 > 0:10:58So we've got parade, knife drill, peeling, dicing, prep yeast dough,
0:10:58 > 0:11:00prep veg soup,
0:11:00 > 0:11:01prep baked pudding,
0:11:01 > 0:11:03make tea for break.
0:11:03 > 0:11:05Ten o'clock, break.
0:11:05 > 0:11:06Phew! Every day.
0:11:06 > 0:11:09Every day, on and on it goes.
0:11:09 > 0:11:12And when you go through it and touch the pages...
0:11:12 > 0:11:16It's just beautiful. It makes me really emotional, it does.
0:11:16 > 0:11:19And I think today, just even more than ever, it's just...
0:11:20 > 0:11:26It's fabulous. It just feels really close to him, you know.
0:11:26 > 0:11:29It's great. It's really nice.
0:11:29 > 0:11:33Well, it is a fabulous thing and it makes me feel very privileged to
0:11:33 > 0:11:35turn these pages too,
0:11:35 > 0:11:38something that was created with obviously such love and dedication.
0:11:38 > 0:11:43And it's not a valuable thing, we're not here to talk about the value.
0:11:43 > 0:11:45No. The value is really tiny.
0:11:45 > 0:11:51But as far as stacking up memories and reflecting on a really important
0:11:51 > 0:11:53role, it's got it all.
0:11:53 > 0:11:55You know, the Spitfire pilots get all the glory.
0:11:55 > 0:11:58Yes. But actually, an army marches on its stomach.
0:11:58 > 0:12:00Yeah. On its stomach, it's true.
0:12:02 > 0:12:06The glorious Scottish countryside is depicted so beautifully in this very
0:12:06 > 0:12:09large oil painting by Joseph Maurice Henderson.
0:12:09 > 0:12:13And you have brought in perhaps the biggest canvas that I've ever seen
0:12:13 > 0:12:16by this artist. The sun is shining,
0:12:16 > 0:12:20you've got lots of gentlemen stacking hay.
0:12:20 > 0:12:21Tell me where this has come from?
0:12:21 > 0:12:24It's actually a family painting.
0:12:24 > 0:12:30The story goes, it was purchased by my grandfather to cover a wedding
0:12:30 > 0:12:34that the Hendersons were having for one of their daughters.
0:12:34 > 0:12:37Purchased around about 1930s, as far as I'm led to believe,
0:12:37 > 0:12:39and that's stayed in the family since then.
0:12:39 > 0:12:42And there's a label on the back of the picture
0:12:42 > 0:12:46that says ?160, so do I take it that it was ?160 in the '30s?
0:12:46 > 0:12:48We assume it was, yes.
0:12:48 > 0:12:51That was an enormous amount of money, and of course the Hendersons,
0:12:51 > 0:12:54you know a lot about the Hendersons. What's the connection there?
0:12:54 > 0:12:58The connection with the Hendersons is my great-aunt is actually
0:12:58 > 0:13:01a Henderson and a lot of the paintings have come through
0:13:01 > 0:13:03that side of the family. How amazing.
0:13:03 > 0:13:06Glasgow-based, Glasgow artist. Yes, that's right, they were.
0:13:06 > 0:13:09And Joseph, the father, and John and
0:13:09 > 0:13:12Joseph Maurice Henderson were the sons.
0:13:12 > 0:13:13They were all the sons.
0:13:13 > 0:13:16And, you know, a really fabulous artist,
0:13:16 > 0:13:19and to see the Scottish landscape
0:13:19 > 0:13:21sunny and breezy and light...
0:13:21 > 0:13:25And of course this is painted by the son of Joseph Henderson.
0:13:25 > 0:13:28Yes. The whole family were artists.
0:13:28 > 0:13:30And, of course, you probably know all of them.
0:13:30 > 0:13:34We've heard... We've read a good bit about the family, there's been
0:13:34 > 0:13:37several exhibitions done with the family paintings.
0:13:37 > 0:13:41This one was taken for a painting exhibition years ago and there is a
0:13:41 > 0:13:44brochure confirming it was shown. Right, where was it shown?
0:13:44 > 0:13:47I think it was actually shown through in Edinburgh, but,
0:13:47 > 0:13:50as I say, this one's stayed within the family since then and it's
0:13:50 > 0:13:53the only one we've got that's got a farming-type scene on it, as such.
0:13:53 > 0:13:57Most of the rest of the family paintings are a lot of seascapes,
0:13:57 > 0:14:00he loved water and seascapes so there's a lot of water and seascape
0:14:00 > 0:14:02paintings. Yes.
0:14:02 > 0:14:04This is painted in a very impressionistic way.
0:14:04 > 0:14:07The sun is shining, there is a breeze.
0:14:07 > 0:14:10You get a very good feeling about this big landscape. Mm-hm.
0:14:11 > 0:14:15And I suppose artists of this type,
0:14:15 > 0:14:18this was probably painted around the 1920s - he dies in 1936 -
0:14:18 > 0:14:21they were inspired by the really great
0:14:21 > 0:14:24Impressionist landscape artist William McTaggart.
0:14:24 > 0:14:27And, of course, McTaggart was a great marine painter.
0:14:27 > 0:14:31And you often seen Joseph Maurice Henderson painting very lovely
0:14:31 > 0:14:34pictures of children by the sea.
0:14:34 > 0:14:35Yeah. So what have we got?
0:14:35 > 0:14:40We've got a really fabulous country landscape by Maurice Henderson,
0:14:40 > 0:14:45I think this would make at least ?6,000 - ?8,000 at auction...
0:14:45 > 0:14:48Really? ..in the present market.
0:14:48 > 0:14:50Oh, oh, dear.
0:14:50 > 0:14:53Well, that's got to be a surprise now.
0:14:53 > 0:14:55Yeah, cool. Thank you very much.
0:14:55 > 0:14:58I really think it's possibly one of the nicest pictures I've seen by
0:14:58 > 0:15:01the artist, and over the years I've handled quite a lot.
0:15:01 > 0:15:03Really? I haven't seen any like this,
0:15:03 > 0:15:05this is the only one I've seen.
0:15:05 > 0:15:07Really super picture and I hope you enjoy it at home.
0:15:07 > 0:15:10Yes, we do, thank you very much, indeed we do.
0:15:13 > 0:15:16We're in a time when we're thinking a lot about the Centenary of
0:15:16 > 0:15:18the First World War, quite rightly,
0:15:18 > 0:15:20but there are aspects of it that
0:15:20 > 0:15:23don't seem to come into our consciousness.
0:15:23 > 0:15:28And one of the ones that has always meant a lot to me is
0:15:28 > 0:15:30conscientious objection.
0:15:30 > 0:15:33It was a very strong cause in the First World War and yet no-one
0:15:33 > 0:15:35seemed to talk about it.
0:15:35 > 0:15:39Now, I can see I'm looking at a conscientious objector here,
0:15:39 > 0:15:44now, who he was he? Well, this is my grandfather, William Tetley,
0:15:44 > 0:15:47who I never knew, unfortunately.
0:15:49 > 0:15:51But he was a conscientious objector,
0:15:51 > 0:15:57he was a Quaker and he was quite strong in the socialist movement.
0:15:57 > 0:16:00What was he? He was a photographer.
0:16:00 > 0:16:03So here he is, he's got an established profession,
0:16:03 > 0:16:07where are we talking about? He was in South Shields at this point
0:16:07 > 0:16:08but he was actually born in Leeds.
0:16:08 > 0:16:12OK, so along comes the First World War and what does he do?
0:16:12 > 0:16:17In 1916, conscription began so he was called up
0:16:17 > 0:16:20and refused to go to war
0:16:20 > 0:16:25so he was arrested and sent to a military tribunal
0:16:25 > 0:16:29and the process just kept going on over the next few months.
0:16:29 > 0:16:33He would be called up, he would refuse to go,
0:16:33 > 0:16:37he would go to yet another tribunal, he would spend a few weeks in a
0:16:37 > 0:16:43jail - Wakefield, Wormwood Scrubs and ultimately Dartmoor Prison.
0:16:43 > 0:16:47The Quaker tradition of antimilitarism is very strong
0:16:47 > 0:16:50and, in fact, it goes back into the 18th century when
0:16:50 > 0:16:53there was a tolerance of what were then not called,
0:16:53 > 0:16:55but were conscientious objectors,
0:16:55 > 0:16:57they didn't have to serve in the militia.
0:16:57 > 0:16:59Nothing then happened until the 19th century,
0:16:59 > 0:17:01we come to the First World War,
0:17:01 > 0:17:031914, 1915, in effect nothing happens
0:17:03 > 0:17:05cos all those who were
0:17:05 > 0:17:09fighting were volunteers and if you simply didn't volunteer,
0:17:09 > 0:17:13you run the risk of a white feather, but you didn't have to do anything.
0:17:13 > 0:17:18Conscription comes in in March 1916, and suddenly there's a problem.
0:17:18 > 0:17:20And the conscription act did consider -
0:17:20 > 0:17:23how do we deal with conscientious objectors?
0:17:23 > 0:17:28And there was a process, as you say, you could object,
0:17:28 > 0:17:29file your objection,
0:17:29 > 0:17:34you went before a tribunal and if you were exempted, you had choices.
0:17:34 > 0:17:37As a Quaker, you could serve up to a point in the military,
0:17:37 > 0:17:41you could be a stretcher bearer, you could become a medical orderly.
0:17:41 > 0:17:45You could also join something called the Non-Combatant Corps which meant
0:17:45 > 0:17:48you could be a dock labourer, you could build roads,
0:17:48 > 0:17:50you did nothing military.
0:17:50 > 0:17:53Now we've got a letter here, tell me about that.
0:17:53 > 0:17:58This letter was written to verify that my grandad had always been...
0:18:00 > 0:18:02..a seeker of peace, not war.
0:18:02 > 0:18:06And this gentleman wrote and explained
0:18:06 > 0:18:09that William Tetley had always been
0:18:09 > 0:18:11a seeker of peace, not war,
0:18:11 > 0:18:13and that he wasn't jumping on
0:18:13 > 0:18:16an anti-war bandwagon just at that time.
0:18:16 > 0:18:20So you had to be supported at the tribunal by images like this?
0:18:20 > 0:18:22Yes. I mean, the photographs are interesting,
0:18:22 > 0:18:26I'd never seen photographs taken inside prisons showing groups.
0:18:26 > 0:18:28I mean, here we have a group of conscientious objectors.
0:18:28 > 0:18:33Is he in this photograph? Yes, he's the one with the moustache there.
0:18:33 > 0:18:35Right. And this is in October 1916.
0:18:35 > 0:18:40Now, here we are in Dartmoor, shoesmith's and tinsmith's shop.
0:18:40 > 0:18:43I think the prison didn't really know what to do with these people
0:18:43 > 0:18:45because they weren't conventional criminals.
0:18:45 > 0:18:48That's right. They had to be employed and so they were put to
0:18:48 > 0:18:50work wherever they could,
0:18:50 > 0:18:53and I think it's a tragedy that so many people who
0:18:53 > 0:18:55were driven by their conscience
0:18:55 > 0:18:58ended up actually outsiders in society.
0:18:58 > 0:19:01More importantly, outsiders in their family.
0:19:01 > 0:19:03Yes. What do you think about him now?
0:19:03 > 0:19:07I just stand in awe, really, of all that he did,
0:19:07 > 0:19:10not just in conscientious objection
0:19:10 > 0:19:13but in other areas of social justice.
0:19:14 > 0:19:17And it's that link between
0:19:17 > 0:19:19Quakerism, religion,
0:19:19 > 0:19:23political principle which fired so many people at that time.
0:19:23 > 0:19:25Yes absolutely. It's an extraordinary archive
0:19:25 > 0:19:28and I think because I've never seen anything like it,
0:19:28 > 0:19:30it's actually worth quite a lot of money
0:19:30 > 0:19:33to the history of the conscious objection movement. Right, yeah.
0:19:34 > 0:19:37There's obviously much more than we've got here, so we're looking at
0:19:37 > 0:19:40several hundred pounds,
0:19:40 > 0:19:42just as a historical archive,
0:19:42 > 0:19:47but actually it's really showing the spotlight into your family.
0:19:47 > 0:19:49To us it's priceless, really.
0:19:52 > 0:19:54Boring plate,
0:19:54 > 0:19:56interesting plate.
0:19:57 > 0:20:00Do you have any connection to the Staffordshire Potteries?
0:20:00 > 0:20:02No. OK. I'm afraid not.
0:20:02 > 0:20:04Well, this does.
0:20:04 > 0:20:08Wenger's were a very well-known colour manufacturer so this is
0:20:08 > 0:20:12a sample plate and it says here, "Wenger's, Etruria, Stoke-on-Trent,
0:20:12 > 0:20:14"specimen underglazed colour 421."
0:20:14 > 0:20:17So this is colour 421.
0:20:17 > 0:20:21And that's why it's got a hole in there, so in a pottery, they could
0:20:21 > 0:20:26hang this on the wall, and when they came to make colour 421,
0:20:26 > 0:20:29this was the sample which they mixed the colour to. Right.
0:20:29 > 0:20:31So this is a real piece of ceramic history.
0:20:34 > 0:20:39So, as a boring plate with nothing on the back, it's worth 30 quid,
0:20:39 > 0:20:43but with that on the back, it's worth ?300.
0:20:43 > 0:20:45Wow.
0:20:45 > 0:20:47So the back makes a big difference.
0:20:47 > 0:20:51This is the sort of thing a ceramics historian like me gets giddy over
0:20:51 > 0:20:54because they're very rare, because when potteries closed down
0:20:54 > 0:20:55they often were smashed, so it's a really
0:20:55 > 0:20:58rare thing, a real bit of ceramic history, so look after it.
0:21:21 > 0:21:25You've no idea how many scores of these I've seen that I wouldn't give
0:21:25 > 0:21:30a second glance, but this one made me do a double-take because it's
0:21:30 > 0:21:32the best one I have ever seen.
0:21:33 > 0:21:36Lovely. Where did you get it and why did you bring it here?
0:21:36 > 0:21:41Well, it was given to my parents as a wedding gift in 1933.
0:21:41 > 0:21:44Wow. I don't know who gave them it,
0:21:44 > 0:21:46but it's always been known as Reggie.
0:21:46 > 0:21:48And he's always lived in either
0:21:48 > 0:21:52my mother's front room or my own front room.
0:21:52 > 0:21:57He had cigarettes in him and a box of matches for visitors.
0:21:57 > 0:22:01My father didn't smoke cigarettes, he smoked a pipe,
0:22:01 > 0:22:04but they were always there and I can always remember the cigarettes
0:22:04 > 0:22:05being in it.
0:22:05 > 0:22:11Well, Reggie is a blackamoor stand and he's a revival
0:22:11 > 0:22:16of a renaissance popular object
0:22:16 > 0:22:20that was used for proffering exotic things
0:22:20 > 0:22:25like sweetmeats in Renaissance times in the 15th century, and so on.
0:22:25 > 0:22:27And they were more exotic,
0:22:27 > 0:22:30they had turbans and so on,
0:22:30 > 0:22:34and black people were exotic and admired for that
0:22:34 > 0:22:40and, therefore, as objects they were used to proffer exotic things.
0:22:40 > 0:22:44That exotic theme goes back to Greek and Roman times -
0:22:44 > 0:22:47they've always been exotic -
0:22:47 > 0:22:51and this is a revival in the 1920s and '30s
0:22:51 > 0:22:53which fits in with what you're saying.
0:22:53 > 0:22:57But this isn't so much as for proffering something exotic,
0:22:57 > 0:23:03this was connected with the jazz era. Oh!
0:23:03 > 0:23:06The Negro revues in Paris and the jazz age.
0:23:06 > 0:23:12And he represents a black bellboy that possibly would stand outside
0:23:12 > 0:23:15a Parisian or London hotel,
0:23:15 > 0:23:19but the quality of this is unbelievable.
0:23:19 > 0:23:23You've got fruitwood here, you've got a kind of rosewood here,
0:23:23 > 0:23:24you've got coromandel here,
0:23:24 > 0:23:28you've got another wood as a sliver just joining the head and you've got
0:23:28 > 0:23:35what looks to me like palm wood buttons and palm wood base.
0:23:35 > 0:23:38And it's even got inlaid teeth. Yes.
0:23:38 > 0:23:40I mean, it's extraordinary.
0:23:40 > 0:23:43They're normally just, as I say, painted plywood,
0:23:43 > 0:23:45they're really boring,
0:23:45 > 0:23:49they're worth about ?40-?50, if you're lucky.
0:23:49 > 0:23:52But I can see this one gracing the apartment
0:23:52 > 0:23:54of someone very fashionable
0:23:54 > 0:23:58in Paris, this would have shown guests where they were,
0:23:58 > 0:23:59how fashionable they were,
0:23:59 > 0:24:02cigarette smoking, as this one has been used for,
0:24:02 > 0:24:06as a sort of compendium, was "de rigueur",
0:24:06 > 0:24:08it was the height of fashion.
0:24:08 > 0:24:12It's fantastic and it's great decoration, it's so period,
0:24:12 > 0:24:16it's very Art Deco and it's got a value.
0:24:16 > 0:24:20Right. Horrible plywood ones are ?40 or ?50.
0:24:20 > 0:24:22One like this would be
0:24:22 > 0:24:23?350.
0:24:23 > 0:24:25Oh, my goodness!
0:24:25 > 0:24:28Well done, Reggie. I love him.
0:24:33 > 0:24:35When one first looks at these you think,
0:24:35 > 0:24:38"Now, is that an oil or is it a watercolour?"
0:24:38 > 0:24:40And then you look closely and then
0:24:40 > 0:24:42you suddenly realise that it's stone.
0:24:42 > 0:24:48And I know it as "pietra dura", which means hard stone.
0:24:48 > 0:24:51Which, of course, is Italian,
0:24:51 > 0:24:55so tell me how they came to be with you from Italy?
0:24:55 > 0:25:03My father worked in Italy before the First World War and he hurriedly
0:25:03 > 0:25:07came out of Italy and came back to Britain
0:25:07 > 0:25:11to join the Army and he was able to bring these
0:25:11 > 0:25:14and other paintings, so I know that
0:25:14 > 0:25:18they came to this country just about before the First World War
0:25:18 > 0:25:19or during the First World War.
0:25:19 > 0:25:22From Italy? From Italy, yeah.
0:25:22 > 0:25:25Wonderful. Well, this type of picture
0:25:25 > 0:25:29is one of my favourite mediums, if you like, because,
0:25:29 > 0:25:31to me, there's a lot of work in it,
0:25:31 > 0:25:32as all pictures are,
0:25:32 > 0:25:36but these are beautifully crafted, handcrafted stones.
0:25:36 > 0:25:39Some of them are semiprecious stones,
0:25:39 > 0:25:43hard stones inlaid into a base which is usually either green,
0:25:43 > 0:25:45white or black marble.
0:25:45 > 0:25:47And then they are slotted in,
0:25:47 > 0:25:51they're like a mosaic but they're a large mosaic, if you like. Right.
0:25:51 > 0:25:56It was started in the 16th century, King Ferdinando I
0:25:56 > 0:26:01started the Museo Del Lavoro in Rome
0:26:01 > 0:26:04in 1588, and that's when it all started -
0:26:04 > 0:26:06in the 16th century in Rome -
0:26:06 > 0:26:12but later it became bigger and better in Florence until by
0:26:12 > 0:26:15the middle of the 19th century,
0:26:15 > 0:26:18there was a famous chap called Giovanni Montelatici
0:26:18 > 0:26:21and he was churning them out and they
0:26:21 > 0:26:24went all over the world with tourists.
0:26:24 > 0:26:28So the likelihood is that Giovanni Montelatici,
0:26:28 > 0:26:31it came from his workshop in Florence
0:26:31 > 0:26:35between 1864-1930
0:26:35 > 0:26:38so it could well have been circa 1900.
0:26:38 > 0:26:43So you've got lapis lazuli here, which is one of my favourites.
0:26:43 > 0:26:45What's your favourite?
0:26:45 > 0:26:47I think the green one.
0:26:47 > 0:26:49You know what the green is?
0:26:49 > 0:26:51No. It's malachite.
0:26:51 > 0:26:53Malachite, oh, is it?
0:26:53 > 0:26:57Which is again a semiprecious stone, rather like the lapis.
0:26:57 > 0:27:01There are people that collect these and I think we're talking about,
0:27:01 > 0:27:04for the pair, ?1,500- ?2,000.
0:27:06 > 0:27:08That's good.
0:27:08 > 0:27:13Good? I didn't think that, I just had them hanging for a long time.
0:27:13 > 0:27:15Do you like them? Yes, I do. Good. I LOVE them.
0:27:19 > 0:27:21Clearly not a book, it's a banner.
0:27:21 > 0:27:25It's painted, I think, in gouache on cotton or linen,
0:27:25 > 0:27:30obviously very large format, the legend at the foot, "Leadhills."
0:27:30 > 0:27:34Large motto, "And leave the rest to heaven."
0:27:34 > 0:27:38A symbolic column with a dove perched on the top.
0:27:38 > 0:27:40And at the foot, these are mining tools, surely.
0:27:40 > 0:27:43That's right, yes. There's a pick, shovel and a bucket.
0:27:43 > 0:27:48Well, this is the banner of Leadhills Reading Society
0:27:48 > 0:27:50and it was founded
0:27:50 > 0:27:55in 1741, and it's the oldest subscription library in Britain.
0:27:55 > 0:28:00So this banner would have hung in the library at a certain point,
0:28:00 > 0:28:02the library was founded in 1741.
0:28:02 > 0:28:05That's right, yeah. So, that makes it, certainly, yes, the earliest
0:28:05 > 0:28:08subscription library in the British Isles.
0:28:08 > 0:28:10It does. That's exciting in itself.
0:28:10 > 0:28:12This is a little bit later, isn't it? Let's be clear,
0:28:12 > 0:28:15this doesn't date from the 18th century, I don't think.
0:28:15 > 0:28:20To me, this looks early 19th century, 1820s, 1830s.
0:28:20 > 0:28:22Tell me about Leadhills.
0:28:22 > 0:28:26Leadhills is a village on the Lanarkshire, Dumfriesshire border
0:28:26 > 0:28:28in south-west Scotland,
0:28:28 > 0:28:30and the reason it's there is because
0:28:30 > 0:28:35for about 300 years the Leadhills area was a major centre of
0:28:35 > 0:28:39lead mining, and this was a library for the miners.
0:28:39 > 0:28:43This really excites me because what you're saying is this takes us right
0:28:43 > 0:28:46to the beginning of that tradition which we perhaps began to
0:28:46 > 0:28:49take for granted. Well, very much so. In Scotland, we're
0:28:49 > 0:28:53particularly proud of the fact that library activity in the 18th-century
0:28:53 > 0:28:57involved quite ordinary people like these lead miners, who were pick-men
0:28:57 > 0:29:01or lead washers or smelters or whatever,
0:29:01 > 0:29:03they were very ordinary people.
0:29:03 > 0:29:07I think it's a really wonderful piece, a very emotive piece.
0:29:07 > 0:29:09I think anyone who is interested in books, in reading,
0:29:09 > 0:29:14in literacy, to see something like this which somehow takes us back to
0:29:14 > 0:29:16the very origins of the way in which
0:29:16 > 0:29:18we interact with books is very exciting.
0:29:18 > 0:29:21Hard to value, but I can think of lots of people
0:29:21 > 0:29:24who'd be very excited by something like this.
0:29:25 > 0:29:28At auction, ?6,000- ?8,000.
0:29:29 > 0:29:32My trustees will be very interested to hear that.
0:29:32 > 0:29:35Obviously it's not for sale, but we're delighted to hear that.
0:29:39 > 0:29:43If anyone was going to win a prize today at the Roadshow for the most
0:29:43 > 0:29:46romantic husband, I think you would win it.
0:29:46 > 0:29:50Really? And it's all connected to a chair, so tell me how it started.
0:29:50 > 0:29:55Well, we bought this old basket chair at an auction for about ?5,
0:29:55 > 0:29:58and at the time, well, it was in a filthy state,
0:29:58 > 0:30:00so we needed it reupholstered
0:30:00 > 0:30:04so, at the time we couldn't afford it, so we decided to put it in
0:30:04 > 0:30:06the attic for five years or so,
0:30:06 > 0:30:11forgot about it, and then when we eventually decided to have it
0:30:11 > 0:30:14reupholstered, my husband thought,
0:30:14 > 0:30:17to save money, he would strip the chair first.
0:30:17 > 0:30:21So, that's what he did and we had it upholstered, came back,
0:30:21 > 0:30:24looked lovely and then, come two months later,
0:30:24 > 0:30:26our wedding anniversary,
0:30:26 > 0:30:29he presented me with a diamond ring and said,
0:30:29 > 0:30:31"Guess where I found this."
0:30:31 > 0:30:37And he'd found it inside about three layers of cloth inside the chair.
0:30:37 > 0:30:39So it was hidden inside the chair? It was hidden inside the chair.
0:30:39 > 0:30:42And you've got the ring there? I've got the ring here, yes.
0:30:42 > 0:30:45There you are. So this is it?
0:30:45 > 0:30:46So he presents you with this...
0:30:46 > 0:30:48The ring? ..at your anniversary?
0:30:48 > 0:30:52Yeah, and then, come following Valentine's Day,
0:30:52 > 0:30:55he presents me with diamond earrings...
0:30:55 > 0:30:57And again these were hidden inside the chair?
0:30:57 > 0:31:00Hidden inside the chair.
0:31:00 > 0:31:01And then also a brooch.
0:31:01 > 0:31:04Is there any more to come? Well, that would be nice, wouldn't it?
0:31:04 > 0:31:07I don't think so, I think that was it,
0:31:07 > 0:31:10but obviously somebody hid them at one time
0:31:10 > 0:31:14and forgot about them or died or... We just don't know.
0:31:14 > 0:31:15You have no idea why? No.
0:31:15 > 0:31:19Joe Hardy, our jewellery specialist, I know would love to see these,
0:31:19 > 0:31:22but no matter how much they're worth,
0:31:22 > 0:31:24just a lovely story, so romantic.
0:31:24 > 0:31:26You never know what you're going to find
0:31:26 > 0:31:28when you buy something at auction.
0:31:28 > 0:31:31I bought a chair for a fiver at an auction, it's now
0:31:31 > 0:31:34in my son's bedroom, it never occurred to me to look inside it.
0:31:34 > 0:31:37I would get it stripped and see what you might find! I might have to!
0:31:37 > 0:31:39That's right.
0:31:41 > 0:31:44Well, you could have been standing in the paintings queue,
0:31:44 > 0:31:50couldn't you? I could have, with these scenes of slightly bawdy life.
0:31:50 > 0:31:54Well, certainly this scene here shows gentlemen sitting
0:31:54 > 0:31:58around a table drinking punch from this punchbowl,
0:31:58 > 0:32:01this fellow here's taken a fall.
0:32:01 > 0:32:04He's obviously had too much. He's had too much.
0:32:04 > 0:32:07Well, I can tell you, this is James Figg,
0:32:07 > 0:32:09the 18th-century prize-fighter
0:32:09 > 0:32:13of whom it was said only alcohol could knock him out. Oh!
0:32:13 > 0:32:14We know who he is, in fact
0:32:14 > 0:32:18we know who the others are, but I'm going to have to skip round to
0:32:18 > 0:32:20the other side and show you this scene.
0:32:20 > 0:32:23This is Tom Rakewell. And who is he?
0:32:23 > 0:32:29Tom Rakewell is the antihero of a series by William Hogarth.
0:32:29 > 0:32:33OK. And in this scene from The Rake's Progress,
0:32:33 > 0:32:37he's cursing his luck at the gaming table, and just to reinforce this,
0:32:37 > 0:32:41this black dog is looking at him and the black dog in the 18th-century
0:32:41 > 0:32:44meant the same as depression, the black dog today.
0:32:44 > 0:32:46So it's an ancient, ancient sign.
0:32:46 > 0:32:49Now, let's put the lid to one side and look at the scenes
0:32:49 > 0:32:51on the base.
0:32:51 > 0:32:53Now, here you have a scene of
0:32:53 > 0:32:56what is called the election entertainment.
0:32:56 > 0:33:01What is that? Well, when politicians wanted to make sure that a vote,
0:33:01 > 0:33:04like, for example, a referendum, went the right way,
0:33:04 > 0:33:07they treated the voters to a great feast,
0:33:07 > 0:33:08in the hope that they would...
0:33:08 > 0:33:10Vote for them. Vote for me.
0:33:10 > 0:33:14The election agent has just been delivered a blow by a brick
0:33:14 > 0:33:15that's come through a window.
0:33:15 > 0:33:19But, best of all, for medics especially, is this gentleman here.
0:33:19 > 0:33:22He's just eaten a surfeit of oysters.
0:33:22 > 0:33:25And he's not feeling very well. He's not feeling very well,
0:33:25 > 0:33:29and so the local physician has come along with his cure,
0:33:29 > 0:33:31which is always to be bled.
0:33:31 > 0:33:35And the last one here is this, a violinist.
0:33:35 > 0:33:37You can just see he's holding a bow.
0:33:37 > 0:33:41He's flung open his window, because outside there is cacophony.
0:33:41 > 0:33:43All of these people are making a noise.
0:33:43 > 0:33:46The milkmaid has come to town, shouting, "Fresh milk!"
0:33:46 > 0:33:50The pig gelder is blowing his horn, a man with a toothache,
0:33:50 > 0:33:53a man sharpening a cleaver, a boy with a drum...
0:33:53 > 0:33:57And the only moment of silence, there,
0:33:57 > 0:33:58a girl with a rattle.
0:33:58 > 0:34:02She's stopped cos she's horrified by what she's seen.
0:34:02 > 0:34:04Now, this is where
0:34:04 > 0:34:08the 18th century meets the 19th century.
0:34:08 > 0:34:11I've told you that these scenes are Hogarthian.
0:34:11 > 0:34:14Yes. And they are all recognised scenes from Hogarth's works from
0:34:14 > 0:34:17the 1720s right through to the 1750s. OK.
0:34:19 > 0:34:22But by the time we get to the 19th century,
0:34:22 > 0:34:26people are rather more precious about the raucous, bawdy,
0:34:26 > 0:34:2818th-century world. About the bad behaviour.
0:34:28 > 0:34:33About bad behaviour. And in the original version, here,
0:34:33 > 0:34:39the reason she has stopped rattling her rattle is that this little lad
0:34:39 > 0:34:42in his red coat is relieving himself in front of her.
0:34:43 > 0:34:49We have been spared that scene by the tasteful decorator,
0:34:49 > 0:34:52and the tasteful decorator, what nationality was he?
0:34:52 > 0:34:54I thought he might be German, but he obviously isn't.
0:34:54 > 0:34:57You're absolutely right. He IS German.
0:34:57 > 0:34:59Because, turn it upside down,
0:34:59 > 0:35:02there is the mark of the Berlin Porcelain Factory.
0:35:04 > 0:35:07So the question is, why English scenes
0:35:07 > 0:35:11of an 18th-century artist on the 19th-century bowl?
0:35:11 > 0:35:16And the answer is - the Germans loved Hogarth.
0:35:17 > 0:35:22Hogarth became an internationally famous artist in his own lifetime.
0:35:22 > 0:35:24There was a huge Hogarth revival,
0:35:24 > 0:35:28both in England and in continental Europe in the 19th century,
0:35:28 > 0:35:31and this bowl probably dates to around 1850.
0:35:31 > 0:35:34Why would they put a horrible cherub on the top? A horrible cherub?
0:35:34 > 0:35:39My goodness! Well, English punch bowls are open punch bowls,
0:35:39 > 0:35:44because we drank cold punch, but the German punch is served warm.
0:35:44 > 0:35:45That's why there is a cover,
0:35:45 > 0:35:48and if you've got a cover you've got to have a finial.
0:35:48 > 0:35:52Valuation... Well, it's damaged - that has an effect on value.
0:35:52 > 0:35:55It's a lovely thing. I'm a Hogarth nut
0:35:55 > 0:36:00so I would probably put quite a higher valuation than another of my
0:36:00 > 0:36:02porcelain friends down there.
0:36:02 > 0:36:04I'm going to say it's probably worth somewhere in the region of
0:36:04 > 0:36:06?600 to ?900.
0:36:06 > 0:36:10Wow. For something we keep corks and party poppers in.
0:36:13 > 0:36:15Now, where have you got these from?
0:36:15 > 0:36:18These were hidden in a chair we bought at auction,
0:36:18 > 0:36:20and my husband gave them to me.
0:36:20 > 0:36:23My goodness me. Well, I don't know...
0:36:23 > 0:36:26I wish I had a chair, A, that I could find jewellery in, and B,
0:36:26 > 0:36:28have presents given to me...
0:36:28 > 0:36:31Well, let's start with this beautiful little flower brooch.
0:36:31 > 0:36:34Why I love it so much is because of this...
0:36:34 > 0:36:37this real movement that these petals have.
0:36:37 > 0:36:40You know, the goldsmith has really spent some time
0:36:40 > 0:36:43to try and replicate nature.
0:36:43 > 0:36:47And it's made in silver and gold,
0:36:47 > 0:36:49and they're cushion-shaped diamonds.
0:36:49 > 0:36:54And there's a couple of rose-cut diamonds,
0:36:54 > 0:36:57and it's made in about 1890, that sort of...
0:36:57 > 0:37:00that sort of period. I would say, at auction,
0:37:00 > 0:37:03you'd be looking at about ?1,200 to ?1,500 for that.
0:37:03 > 0:37:05Right. Gosh. So that's very nice, isn't it?
0:37:05 > 0:37:08Very nice Easter present, yes. So, now, that's the Easter present?
0:37:08 > 0:37:10That was the Easter present, yes. OK. OK.
0:37:10 > 0:37:13So we've got this ring here.
0:37:13 > 0:37:16Slightly later in style.
0:37:16 > 0:37:19It's platinum and 18-carat gold.
0:37:19 > 0:37:24It's got cushion-shaped diamonds and it's about 1900, the period.
0:37:24 > 0:37:26Right. Very pretty, charming...
0:37:26 > 0:37:30You'd be looking at about ?500 to ?700 for that one.
0:37:30 > 0:37:33And then we have this pair of earrings.
0:37:33 > 0:37:36There are rather superb, aren't they?
0:37:36 > 0:37:40I would say there are just under a carat in weight, though, again,
0:37:40 > 0:37:42cut at about 1900. OK.
0:37:42 > 0:37:47So it's all the same sort of period, these three, these three items.
0:37:47 > 0:37:49Because of the inclusions, you know,
0:37:49 > 0:37:54you're only really looking at about ?2,000 to ?2,500...
0:37:54 > 0:37:56I say "only". Yeah!
0:37:56 > 0:37:59I mean, I say only... It's quite a lot. But... Yes.
0:37:59 > 0:38:00But for the size...
0:38:00 > 0:38:03OK. So, for a chair that cost you how much?
0:38:03 > 0:38:06?5. ?5!
0:38:06 > 0:38:09Well, a chair that cost you ?5,
0:38:09 > 0:38:12out popped a collection of jewellery
0:38:12 > 0:38:15which is worth around about ?4,000 to ?5,000.
0:38:15 > 0:38:18Yes. Wonderful. Thank you. Well, thank you very much.
0:38:18 > 0:38:20Thank you.
0:38:21 > 0:38:24So I understand that you acquired this
0:38:24 > 0:38:28from a well-known online auction website.
0:38:28 > 0:38:31Yes, yes. Quite brave, I would say.
0:38:31 > 0:38:34It certainly was. Can I ask what you know about it?
0:38:34 > 0:38:36What you bought it as, even? What did they describe it as?
0:38:36 > 0:38:41It was just described as antique wooden Guan Yu statue.
0:38:41 > 0:38:43And I lived in China for some time,
0:38:43 > 0:38:46so when I was there I was looking for a statue of Guan Yu,
0:38:46 > 0:38:48and they were all really tacky-looking.
0:38:48 > 0:38:50I couldn't find anything I liked, so when I came home and I saw that,
0:38:50 > 0:38:52and looking at the photographs of it,
0:38:52 > 0:38:55all the time I was in China, I didn't see anything as old as that.
0:38:55 > 0:38:57They all got destroyed or stolen during the revolution,
0:38:57 > 0:39:00so when I saw that, immediately I had to have it.
0:39:00 > 0:39:03Right. And they described it as that.
0:39:03 > 0:39:06So, Guan Yu, the god of war.
0:39:06 > 0:39:10Yes. And he was around in the, sort of, eastern Han dynasty...
0:39:10 > 0:39:13Mm-hmm. ..way back in 200 BC.
0:39:13 > 0:39:15What attracted you to it?
0:39:15 > 0:39:18I mean, what... Why this particular one?
0:39:18 > 0:39:21Well, I'd been in China studying martial arts,
0:39:21 > 0:39:23and Guan Yu is prayed to by police,
0:39:23 > 0:39:25law enforcement, martial artists, and,
0:39:25 > 0:39:29ironically enough, Chinese Mafia. But just from the martial arts side
0:39:29 > 0:39:31of it and from the Daoism side of it,
0:39:31 > 0:39:33I'd been quite interested in him, and him being
0:39:33 > 0:39:36such a prominent figure in China, that when I saw it, I just...
0:39:36 > 0:39:41I had to have it. Also he is known to bring good fortune and knowledge
0:39:41 > 0:39:44and wisdom as well, so I thought it'd be good for my shrine.
0:39:44 > 0:39:46Rub off on you? Yeah, yeah.
0:39:46 > 0:39:49So... Be a good influence on me. I'd better be a bit careful about my
0:39:49 > 0:39:51valuation later, if you're a martial arts expert.
0:39:51 > 0:39:52LAUGHTER
0:39:52 > 0:39:56So I'm going to ask, what did you pay for it?
0:39:56 > 0:39:58He was asking for 360.
0:39:58 > 0:40:01I offered him 240 and he accepted it.
0:40:01 > 0:40:04There you go. Good at bartering, obviously. Or did you persuade him
0:40:04 > 0:40:06in other ways? I learned my haggling in China,
0:40:06 > 0:40:08so I managed to get the price down.
0:40:08 > 0:40:10They can be particularly good at it.
0:40:10 > 0:40:11OK, so what is it?
0:40:11 > 0:40:14Well, it's from the Ming Dynasty...
0:40:14 > 0:40:16Excellent.
0:40:16 > 0:40:20..which gives us a fairly broad range, going from, you know,
0:40:20 > 0:40:22anything from 14th century up to 17th century,
0:40:22 > 0:40:24but this one's 17th century.
0:40:24 > 0:40:28OK. And it's a carved wood figure, and I can see, you know,
0:40:28 > 0:40:33traces of old paint here, some traces of old red paint,
0:40:33 > 0:40:35and indeed some traces of blue paint there.
0:40:35 > 0:40:38It's a softwood that it's made of, and then...
0:40:38 > 0:40:41Which is why they've... They would have polychrome painted this,
0:40:41 > 0:40:44so it would have been quite ornate, possibly with some gilts,
0:40:44 > 0:40:45but certainly, as we can see,
0:40:45 > 0:40:49there's rich blue and reds and maybe some other colours in there also.
0:40:49 > 0:40:51I really like the, sort of, stance of him,
0:40:51 > 0:40:53and I like the way he's kind of stroking...
0:40:53 > 0:40:55pulling his beard to one side, you know,
0:40:55 > 0:40:57ready to make a decision about his next...
0:40:57 > 0:41:00Very bold. Very bold, and looking to make a decision about his next battle
0:41:00 > 0:41:03and what he's going to do to, you know, his...
0:41:03 > 0:41:06his armies that he's up against, or what he's going to do with his army.
0:41:06 > 0:41:09Well, look, he's a wonderful piece, desirable today,
0:41:09 > 0:41:12and I think if that came up for auction,
0:41:12 > 0:41:15I like the condition and I think other people would like
0:41:15 > 0:41:19the condition. I think he'd carry a presale auction estimate
0:41:19 > 0:41:20of between ?2,000 to ?3,000.
0:41:22 > 0:41:25That's all right. That's not bad!
0:41:25 > 0:41:28Everybody's going on this auction website later.
0:41:28 > 0:41:29LAUGHTER
0:41:29 > 0:41:31He's not for sale.
0:41:35 > 0:41:37Now, earlier on in the programme,
0:41:37 > 0:41:40Fiona was talking about life here at New Lanark,
0:41:40 > 0:41:42and about the lives of people who lived here,
0:41:42 > 0:41:45and actually we've got a photograph
0:41:45 > 0:41:49of a group of people relating to New Lanark.
0:41:49 > 0:41:51Now, who are they?
0:41:51 > 0:41:56Well, the gentleman on the left is my great-grandfather, James Purvie.
0:41:56 > 0:42:01The woman is my grandmother, Margaret Graham.
0:42:01 > 0:42:05She has in her arms my mother,
0:42:05 > 0:42:12also Margaret Graham, and my two uncles are the two other gentleman.
0:42:12 > 0:42:14On... On either side.
0:42:14 > 0:42:18On either side. And how long were they involved here at New Lanark?
0:42:18 > 0:42:23The family originally arrived in New Lanark in 1820,
0:42:23 > 0:42:29and my grandmother was the last to leave in 1920,
0:42:29 > 0:42:34when she moved to Lanark to live with her son and daughter-in-law.
0:42:34 > 0:42:36So they were here for 100 years. 100 years.
0:42:36 > 0:42:38That is extraordinary, isn't it?
0:42:38 > 0:42:43And I'm trying to imagine life here in New Lanark.
0:42:43 > 0:42:46I mean, it must have been a hard life,
0:42:46 > 0:42:50but obviously comfortable in a way that, perhaps,
0:42:50 > 0:42:53a lot of other working folks didn't have it comfortable,
0:42:53 > 0:42:55in that everything was provided for you.
0:42:55 > 0:42:57That is correct.
0:42:57 > 0:43:03I remember my grandmother telling me that with the electric light,
0:43:03 > 0:43:05it went on at six o'clock in the morning
0:43:05 > 0:43:08and it went off at ten o'clock at night.
0:43:08 > 0:43:11And they thoroughly enjoyed their life.
0:43:11 > 0:43:14It was a simple life. On the table in front of us,
0:43:14 > 0:43:17we've got a number of things which actually relate to...
0:43:17 > 0:43:19to that life of your...your forebears.
0:43:19 > 0:43:23Now, what I love is this little Valentine card.
0:43:23 > 0:43:26On the front, you've got a lovely verse,
0:43:26 > 0:43:31pretty flowers, gold decoration, and it looks like a...
0:43:31 > 0:43:34..a little envelope. You can't open it.
0:43:34 > 0:43:38It was given by my grandfather to my grandmother the year before
0:43:38 > 0:43:42they were married, and they were married in 1860.
0:43:42 > 0:43:45Perfect. So, I mean, by that time, actually,
0:43:45 > 0:43:49the exchange of Valentine cards was quite, quite the thing.
0:43:49 > 0:43:51Wonderful to have that.
0:43:51 > 0:43:55And then we've got two ale glasses here, pressed glass,
0:43:55 > 0:43:58probably made in Newcastle, dating from the 1850s.
0:43:58 > 0:44:01Then, the other things on the table I like very much, too,
0:44:01 > 0:44:05because they also tell another part of the story.
0:44:05 > 0:44:08Because here you have two Staffordshire hounds.
0:44:08 > 0:44:10That was nothing to do with food.
0:44:10 > 0:44:12It was nothing to do with providing for the family.
0:44:12 > 0:44:18That was TOTAL, unbridled luxury.
0:44:18 > 0:44:23Yes. You could only consider having something in your house that was
0:44:23 > 0:44:27decorative when every other necessity had been ticked off...
0:44:28 > 0:44:32..and they were as excited about owning those
0:44:32 > 0:44:34as any millionaire would have
0:44:34 > 0:44:36been at owning a piece of Meissen.
0:44:36 > 0:44:40It said exactly the same thing in their house,
0:44:40 > 0:44:42so, lovely to have that.
0:44:42 > 0:44:44So it tells a really lovely story.
0:44:44 > 0:44:45So it tells a really lovely story.
0:44:46 > 0:44:48What do we do about valuing them?
0:44:48 > 0:44:53Well, the little Valentine, perhaps worth ?40, ?50.
0:44:53 > 0:44:56The rest of the things on the table
0:44:56 > 0:44:59perhaps adding cumulatively to ?250.
0:45:00 > 0:45:05But to me it's all about using these few things here
0:45:05 > 0:45:08to open the door and to be able to
0:45:08 > 0:45:11look in on a wonderful piece of history,
0:45:11 > 0:45:13and that is working life here at New Lanark.
0:45:13 > 0:45:16Thank you very much indeed. Thank you.
0:45:39 > 0:45:41This is almost like a picture frame to me,
0:45:41 > 0:45:43because it helps me date the contents.
0:45:43 > 0:45:45And a red leather box of this style
0:45:45 > 0:45:47and this shape often heralds a jewel
0:45:47 > 0:45:52from the 1840s. And we open it up and, yes, absolutely bang on,
0:45:52 > 0:45:55a magnificent suite of seed pearls.
0:45:55 > 0:45:56Tell me all about it with you.
0:45:56 > 0:45:58Well, I wore them when I got married.
0:45:58 > 0:46:02My grandmother, Dad's mother wore them to his Government House balls
0:46:02 > 0:46:05in New Zealand, erm, with the Governor General, obviously.
0:46:05 > 0:46:09And she said to me, "Oh, maybe you ought to wear some of that when you get married,"
0:46:09 > 0:46:11and I said, "Well, absolutely."
0:46:11 > 0:46:14And then she says, "Well, you can't wear the necklace cos I've worn that,
0:46:14 > 0:46:17"and that's not looking good any more, and you can't wear a bracelet."
0:46:17 > 0:46:20So it ended up I wore the earrings and the hairpiece.
0:46:20 > 0:46:21Well, that's wonderful,
0:46:21 > 0:46:24and in a way that's exactly the job for which this was designed,
0:46:24 > 0:46:26because pearls are absolutely magical -
0:46:26 > 0:46:29since time immemorial they've been associated with Venus,
0:46:29 > 0:46:31because they are born of the shell and the sea,
0:46:31 > 0:46:33and so they are one of her attributes,
0:46:33 > 0:46:37and so always associated with the amatory significance of jewellery.
0:46:37 > 0:46:41And here are masses of sea pearls, and it's a miracle of craftsmanship,
0:46:41 > 0:46:43because the allusion to the shell
0:46:43 > 0:46:45and the sea is doubled up on the back.
0:46:45 > 0:46:48We can see that this is sawn mother of pearl,
0:46:48 > 0:46:51this the shell of some sort of mollusc.
0:46:51 > 0:46:54Oh, I see. And so the allusion,
0:46:54 > 0:46:56the metaphor is extended beyond that.
0:46:56 > 0:46:58But it goes deeper still.
0:46:58 > 0:47:02One might suggest that this was a wedding gift for a girl in 1840,
0:47:02 > 0:47:05because it encapsulates everything she would ever need in later life -
0:47:05 > 0:47:08the necklace, the bracelets, the earrings,
0:47:08 > 0:47:11and this frontlet - a tiara, if you like.
0:47:11 > 0:47:14Were you frightened by it when you wore it or not?
0:47:14 > 0:47:15No, not at all.
0:47:15 > 0:47:18And then looking back now, 24 years later,
0:47:18 > 0:47:20I'm thinking maybe that was a bit of a stupid thing to do.
0:47:20 > 0:47:23Yeah, oh, no, well, it is horribly fragile,
0:47:23 > 0:47:25and actually one of the miracles
0:47:25 > 0:47:28of discovering it today in such stunning condition
0:47:28 > 0:47:31is that pieces turn up all the time and they're always broken,
0:47:31 > 0:47:34and it's a great challenge to restore them,
0:47:34 > 0:47:37but I'm completely fascinated by the concept of you wearing it at your
0:47:37 > 0:47:41wedding, because I think that you were acting instinctively here.
0:47:41 > 0:47:44There is an extended metaphor beyond the pearls.
0:47:44 > 0:47:48This is a...a sprig of roses.
0:47:48 > 0:47:51The central rose is en tremble - literally trembling
0:47:51 > 0:47:54on a watch spring here. Yeah. The rose, too,
0:47:54 > 0:47:56is sacred to Venus.
0:47:56 > 0:47:58And so there is a double emblem of love,
0:47:58 > 0:48:00but equally these are ivy leaves,
0:48:00 > 0:48:04and ivy in the language of flowers is emblematic of marriage.
0:48:04 > 0:48:06Oh, I didn't know that.
0:48:06 > 0:48:08But the rose is good cos that was my maiden name.
0:48:08 > 0:48:10Was it? Oh, that's even better, isn't it?
0:48:10 > 0:48:14So a piece of jewellery of huge amatory significance.
0:48:14 > 0:48:16Where was it made? That's a big problem.
0:48:16 > 0:48:20I think technically it's difficult to imagine that this is London work,
0:48:20 > 0:48:23and I don't think anybody's pinpointed exactly where
0:48:23 > 0:48:25these things were made, but maybe
0:48:25 > 0:48:29perhaps somewhere in the Empire. But retailed in London.
0:48:29 > 0:48:31I mean, this is... Or at least in the United Kingdom.
0:48:31 > 0:48:33This is an English box. It is.
0:48:33 > 0:48:34And...
0:48:34 > 0:48:36And a thrilling survival doing its job,
0:48:36 > 0:48:41the very job that it was supposed to do in 1840, doing it for you,
0:48:41 > 0:48:43and possibly doing it for future generations.
0:48:43 > 0:48:46That would be wonderful too. Do you think it would hold together for future generations?
0:48:46 > 0:48:48Well, frankly, no!
0:48:48 > 0:48:52I think you've got to be hugely, hugely careful of it.
0:48:52 > 0:48:54It's immensely fragile.
0:48:54 > 0:48:57What we should say is that each element is actually strung with
0:48:57 > 0:49:00horsehair onto a background of mother of pearls,
0:49:00 > 0:49:02and once the horsehair is broken,
0:49:02 > 0:49:04it's enormously difficult to restore it.
0:49:04 > 0:49:07Here we can see that somebody's attempted it with a bit of cotton.
0:49:07 > 0:49:10But this is collectors' jewellery,
0:49:10 > 0:49:13and any collector would be very pleased to give you
0:49:13 > 0:49:16well, in the region of ?7,000 for it, in my view.
0:49:16 > 0:49:20Wow. Oh, right. OK. That's lovely.
0:49:20 > 0:49:21Quite surprising.
0:49:25 > 0:49:31Well, you have to admit, it's a very smart-looking, quality,
0:49:31 > 0:49:33typically Art Deco cocktail watch.
0:49:33 > 0:49:36Did you used to wear it regularly? I used to wear it a while ago,
0:49:36 > 0:49:40but then I was given by my husband a nice new Rolex for having my second
0:49:40 > 0:49:43child, so it's not really been worn since then.
0:49:43 > 0:49:45Well, that's a shame, isn't it?
0:49:45 > 0:49:50It is. So you did used to wear it fairly regularly, and
0:49:50 > 0:49:53the only thing I can fault on it at the moment
0:49:53 > 0:49:54is that the strap is later.
0:49:54 > 0:49:58It would have had a lovely black moire strap,
0:49:58 > 0:50:01and you can imagine very elegant ladies in the '30s
0:50:01 > 0:50:03wearing this sort of thing.
0:50:03 > 0:50:06The flappers would all have worn this sort of thing,
0:50:06 > 0:50:08and that is seriously nice.
0:50:08 > 0:50:11Do you know anything about it? It was my godmother's,
0:50:11 > 0:50:14and she gave it to me, and I used to play with it as a wee girl.
0:50:14 > 0:50:16You played with it? OK. I played with it.
0:50:16 > 0:50:19So you haven't actually opened it up and had a look at it. Oh, no.
0:50:19 > 0:50:21Oh, no. I didn't even know it opened.
0:50:21 > 0:50:24OK, OK, well, let's have a proper look here for you.
0:50:26 > 0:50:28That opens like that.
0:50:28 > 0:50:32OK. And I'm just going to tease this movement out...
0:50:34 > 0:50:37..and we can just pop it down there,
0:50:37 > 0:50:42and there you will see the magic name Rolex.
0:50:42 > 0:50:45Oh! So you didn't realise it was a Rolex?
0:50:45 > 0:50:46No, no, not at all.
0:50:46 > 0:50:53OK. Well, not only is it Rolex, but it says "observatory quality",
0:50:53 > 0:50:56so it is one of their really beautiful movements. Oh.
0:50:57 > 0:51:03And the case is also signed Rolex Watch Co, platinum.
0:51:04 > 0:51:08So what we've got here is a lovely platinum endowment case,
0:51:08 > 0:51:11and this serial number on the back here...
0:51:14 > 0:51:16..tells me... I'll just have to use this loop.
0:51:16 > 0:51:21Very roughly, it's just in excess of 64,000.
0:51:21 > 0:51:27That equates to a date of manufacture 1934, 1935. Wow.
0:51:27 > 0:51:30Now, the Rolex company was started
0:51:30 > 0:51:32in the early part of the 20th century.
0:51:32 > 0:51:35In 1926 they produced the first Oyster,
0:51:35 > 0:51:38the first waterproof wristwatch,
0:51:38 > 0:51:42and in 1931 the Oyster Perpetual, which is what you're wearing now -
0:51:42 > 0:51:45a modern version of the Oyster Perpetual.
0:51:45 > 0:51:47So that...
0:51:48 > 0:51:51..type of watch was around before they made this.
0:51:51 > 0:51:53Wow. But this is lovely.
0:51:55 > 0:51:56So...
0:51:57 > 0:52:00Fully signed by Rolex. Lovely diamonds -
0:52:00 > 0:52:03and these are not just chips, these are proper diamonds -
0:52:03 > 0:52:05and I'll just slide it all back in.
0:52:07 > 0:52:08There we go.
0:52:09 > 0:52:12Which would you rather have? As I look at your husband there...
0:52:12 > 0:52:14LAUGHTER
0:52:14 > 0:52:17They've both got very good sentimental value, so...
0:52:17 > 0:52:19OK. I'll keep them both.
0:52:19 > 0:52:21Roughly, how long have you had that one for?
0:52:21 > 0:52:2321 years. 21 years.
0:52:23 > 0:52:26OK. Well, this is, as we said, rather older.
0:52:26 > 0:52:3280-odd years. If you walked into a jeweller's or a saleroom,
0:52:32 > 0:52:36they'd probably be looking at something between 2,500 and ?3,000.
0:52:36 > 0:52:39Wow. Oh, wow.
0:52:39 > 0:52:42What pleases me is that I've shown you that it is Rolex,
0:52:42 > 0:52:44and you didn't realise you were
0:52:44 > 0:52:46replacing one Rolex with another, did you?
0:52:46 > 0:52:48No, I did not. I definitely did not.
0:52:48 > 0:52:51Thank you very, very much. Thank you. Thank you.
0:52:55 > 0:52:58So, this is my 11th season on the Antiques Roadshow,
0:52:58 > 0:53:01and it's quite common when approaching a show,
0:53:01 > 0:53:03when arriving at a show,
0:53:03 > 0:53:08to think in your wildest dreams what would you like to have brought in?
0:53:09 > 0:53:11And this is the first time it's ever
0:53:11 > 0:53:15happened that my dream has come true.
0:53:15 > 0:53:20So, what we have is an Irish decanter dating from about 1800...
0:53:22 > 0:53:24..that has a legend behind it that
0:53:24 > 0:53:27locks it right here to the people of Lanark.
0:53:27 > 0:53:30So I'm really grateful to you for bringing this in,
0:53:30 > 0:53:37and the reason that I thought about the "Land We Live In" decanter
0:53:37 > 0:53:41is that they were used by Irish people abroad,
0:53:41 > 0:53:45and if you look where we are in this mill,
0:53:45 > 0:53:48many of the employees would have been Irish.
0:53:48 > 0:53:51The Irish were driven out of their homeland by poverty,
0:53:51 > 0:53:55and came over to Scotland and worked in cotton, worked in the mills.
0:53:55 > 0:53:56That's an absolute classic.
0:53:56 > 0:53:59Thousands of Irish worked in the Scottish mills.
0:54:01 > 0:54:03So where does it fit into YOUR life?
0:54:03 > 0:54:05Well, I particularly like glass,
0:54:05 > 0:54:08and I saw this in an antiques shop in the Grassmarket in Edinburgh,
0:54:08 > 0:54:11it must be 15 or 20 years ago.
0:54:11 > 0:54:13My brother is married to an Irish girl,
0:54:13 > 0:54:16and I recognised it as being Irish, and so I persuaded...
0:54:16 > 0:54:18I didn't have the money to buy it,
0:54:18 > 0:54:20but I persuaded my mother to buy it for him as a Christmas present.
0:54:20 > 0:54:24It wasn't expensive. It'd be maybe ?50, maybe ?60 at the most,
0:54:24 > 0:54:26but I'd thought it was unusual and rare.
0:54:26 > 0:54:29So therefore it belongs to my brother, but it doesn't live
0:54:29 > 0:54:31in his house, because he's got grandchildren,
0:54:31 > 0:54:35so it stays in my mum's house where it's safe, as does the stopper,
0:54:35 > 0:54:37which I didn't bring today.
0:54:37 > 0:54:38So that's the story behind it.
0:54:38 > 0:54:41OK, well, let's examine what we're looking at.
0:54:41 > 0:54:45So we have a decanter with the legend, "The land we live in," here,
0:54:45 > 0:54:49with the initials of the owner, WJ, here,
0:54:49 > 0:54:52and if we turn it round to here,
0:54:52 > 0:54:56we have further wheel engraving, where we have the shamrock
0:54:56 > 0:54:59and the thistle,
0:54:59 > 0:55:03so this has locked it down to Irish-Scottish.
0:55:03 > 0:55:05There's the connection.
0:55:05 > 0:55:08So the meaning of this, "The land we live in,"
0:55:08 > 0:55:13is a toast, so you'd lift the glass, and you'd say,
0:55:13 > 0:55:16"The land we live in,"
0:55:16 > 0:55:18and then you'd turn
0:55:18 > 0:55:23round to the riposte, which is, "To the land we left behind."
0:55:23 > 0:55:25Oh. They lived here!
0:55:25 > 0:55:26They lived in Lanark.
0:55:26 > 0:55:28They worked at the mills here,
0:55:28 > 0:55:31and Ireland was the land they left behind,
0:55:31 > 0:55:35so those were the two toasts that this speaks of.
0:55:35 > 0:55:38Now, these are generally Cork Glass Co,
0:55:38 > 0:55:40that's where most of them come from.
0:55:40 > 0:55:44There was one that was sold about ten years ago,
0:55:44 > 0:55:47at the peak of the Irish glass craze.
0:55:47 > 0:55:51It became the most expensive decanter ever sold at auction.
0:55:51 > 0:55:54Which, bearing in mind how rustic and...
0:55:55 > 0:55:57..poor the glass is, really,
0:55:57 > 0:56:00this isn't sold on the virtues of the splendid glass,
0:56:00 > 0:56:03this is sold on the sentiment. Yes.
0:56:03 > 0:56:07So that decanter sold for 14,000 euros at the time.
0:56:08 > 0:56:10The Irish market's fallen back now,
0:56:10 > 0:56:14but, nonetheless, the decanter that you bought in those days for
0:56:14 > 0:56:1850 to 60 quid is worth between ?600 and ?800
0:56:18 > 0:56:21with its stopper at auction.
0:56:21 > 0:56:25So, what's the best thing to do with it now? Fill it up.
0:56:25 > 0:56:26LAUGHTER
0:56:28 > 0:56:30That's my kind of thinking!
0:56:33 > 0:56:36Of all the things that have been brought along to the Roadshow today,
0:56:36 > 0:56:38what I was REALLY hoping to see was
0:56:38 > 0:56:39items that belonged to the people
0:56:39 > 0:56:41who used to live and work here,
0:56:41 > 0:56:43when this place was a thriving
0:56:43 > 0:56:46cotton manufacturer's, and, as you've seen,
0:56:46 > 0:56:47their homes were so tiny, and people
0:56:47 > 0:56:49were so tightly packed into them,
0:56:49 > 0:56:51they didn't have neither room
0:56:51 > 0:56:53nor money for objects.
0:56:53 > 0:56:56But, in fact, a few things HAVE turned up today.
0:56:56 > 0:57:00They've been very humble, but nonetheless treasured for that.
0:57:00 > 0:57:04From the Antiques Roadshow here at New Lanark, bye-bye.